The Grotesque in Contemporary Anglophone Drama

Transcription

1 The Grotesque in Contemporary Anglophone Drama

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3 Ondřej Pilný The Grotesque in Contemporary Anglophone Drama

4 Ondřej Pilný Department of Anglophone Literatures and Cultures Faculty of Arts Charles University, Prague Czech Republic ISBN ISBN (ebook) DOI / Library of Congress Control Number: The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: jvphoto / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. London

5 ACKNOWLEDGMENTS In writing this book, I have benefited from discussions with many friends and colleagues who generously gave of their time and insights and shared their work with me. I am particularly indebted to Martin Procházka, Clare Wallace, Keith Hopper, Shaun Richards, Tilman Raabke, Michael Raab, Werner Huber, Nicholas Grene, and John Harrington. My work owes much also to the wonderful and truly engaging conferences of the German Society for Contemporary Theatre and Drama in English (CDE) and the Irish Society for Theatre Research (ISTR), and to the many stimulating debates with my students. I would like to express my special gratitude to Roy Foster, who facilitated a research stay at Hertford College, University of Oxford for me while I was working on this project, and who was such a wonderful host. I am equally grateful to the Moore Institute at National University of Ireland, Galway for providing me with a research fellowship at an early stage of my research, to Patrick Lonergan for hosting me in Galway, and to Shelley Troupe for helping out with numerous practical matters. My thanks are due to Tim Crouch for his generosity in letting me read the manuscripts of his most recent plays and use them for this volume. I am much obliged to Linda Jayne Turner for meticulous copy-editing, and to Paula Kennedy, Peter Cary, Jenny McCall, April James, and all the staff at Palgrave Macmillan for their trust in the project and for their commitment to bringing this book to publication. I would also like to thank the anonymous readers for their carefully considered comments, which have all been extremely useful. v

6 vi ACKNOWLEDGMENTS As ever, I am very grateful to my parents for their unwavering support of my work and, last but certainly not least, my wife Hana and my children, who had to live with the grotesque for long enough, and were exceedingly patient. It is they who sustain me. Early versionst of some parts of this book were published as follows: Parts of Chap. 1 appeared in On the Politics of the Grotesque in Contemporary Drama, in Ondřej Pilný and Mirka Horová (eds.), Tis to Create and in Creating Live. Essays in Honour of Martin Procházka (Prague: Faculty of Arts, Charles University, 2013), pp and Jan Grossman, Prague Structuralism, and the Grotesque, in Martin Procházka and Ondřej Pilný (eds.), Prague English Studies and the Transformation of Philologies (Prague: Karolinum Press, 2012), pp Parts of Chap. 3 appeared in Then Like Gigli, Now Like Bette: The Grotesque and the Sublime in Mark O Rowe s Terminus, in Donald E. Morse (ed.), Irish Theatre in Transition: From the Late Nineteenth to the Early Twenty-First Century (Houndmills: Palgrave Macmillan, 2015), pp Parts of Chap. 4 appeared in The Grotesque in the Plays of Enda Walsh, Irish Studies Review, 21 (2) (2013), pp I am grateful to the publishers for their permission to reprint the material. Research for this book was supported by the Programme for the Development of Research Areas at Charles University, P09, Literature and Art in Intercultural Relations, sub-programme Transformations of the Cultural History of the Anglophone Countries: Identities, Periods, Canons, and a grant provided by the Department of Foreign Affairs and Trade (Ireland): Cultural Relations with Other Countries Programme.

7 CONTENTS 1 Introduction: The Grotesque and Contemporary Drama 1 2 Engaging Monsters: Philip Ridley 29 3 Wild Justice: Mark O Rowe 57 4 Life in a Box: Enda Walsh 81 5 Mutabilities: Suzan-Lori Parks Imagine This: Tim Crouch Afterword: The Grotesque and Spectatorship 163 Index 171 vii